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A.Ya. Flier. Teacher's memory

 

Hypotheses

ФИЛОСОФИЯ КУЛЬТУРЫ

V.M. Rozin. The spell of death in history, art Nouveau and now

 

Discussions

SEARCHING THE MEANING OF HISTORY AND CULTURE (A.Ya. Flier’s Section)

A.Ya. Flier. History as a cultural artifact

N.А. Khrenov. Revolution and culture: desacralisation of revolution in Russian cinema of the turn of XX-XXI centuries (beginning)

N.А. Khrenov. Desacralisation of the Russian revolution of 1917 as a problem today: M. Gorky's novel "Life of Klim Samgin" in this perspective (beginning)

 

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HIGH ART IN CONTEMPORARY CULTURE (E. Shapinskaya’s Section)

E.N. Shapinskaya. Monster as a cultural hero: representations of monstrosity in popular culture (beginning)

E.N. Shapinskaya. Education in the digital age: learning or entertainment?

CULTURAL REFLECTIONS

N.А. Khrenov. The founders of the discursive in the Russian cinema and their followers: from Tarkovsky to Zvyagintsev (ending)

V.I. Grachev. Information-isomorphic basis of communicative paradigm of modern culture

V.G. Vlasov, N.Yu. Lukina. Stanze 1, stanze 2, 3, 4… From talks of the philologist with researcher of art

 

РЕПУБЛИКАЦИЯ

A.Ya. Flier. The birth of the home: the spatial self-determination of primitive man

 

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Applied cultural studies. Encyclopedia


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Khrenov Nikolai Andreevich,
Doctor of Philosophy, Professor,
the Gerasimov Russian State
University of Cinematography
e-mail: nihrenov@mail.ru

Synthesis of arts as a synthesis of cultures: V. Kandinsky And S. Eisenstein
(beginning)

Abstract. The article is devoted to the study of the phenomenon of artistic avant-garde in the national culture of the first half of the twentieth century, the origin and basic creative and cultural principles of avant-garde. Directly these problems are analyzed on the example of creativity of V. Kandinsky and R. Eisenstein taking into account features of a cultural context of their activity.

Keywords. Art, avant-garde, new meanings, new forms, tradition, innovation.
 

[1] Hansen-Leve O. Russian formalism. Methodological reconstruction of development based on the principle of exclusion. M.: Languages of Russian culture, 2001. P. 17.
[2] Panofsky E. Idea. On the history of concepts in art theories. From antiquity to classicism. SPb.: Ed. "Andrey Heirs", 2002.
[3] Jung K. the structure of the psyche and the process of individuation. M.: Science, 1966. P. 30.
[4] Ibid. P. 31.
[5] Ibid. P. 32.
[6] Yampolsky M. Observer. Essays on the history of vision. M.: Ad Marginem, 2000.
[7] Yampolsky M. The World Of The Visible. Essays on early Kinopanorama. M.: film Studies notes, 1993.
[8] Yampolsky M. Observer. P. 8.
[9] Berdyaev N. Philosophy of creativity, culture and art. VOLUME. 2., M.: Art, 1994. P. 404.
[10] Yampolsky M. Observer. P. 48.
[11] Jacobson R. Movie Over? / The structure of the film. M.: Rainbow, 1984. P. 25.
[12] Eisenstein S. Method. Thom. 2. M.: Eisenstein-centre; Museum of cinema, 2002. P.55.
[13] Ibid. P. 49.
[14] Ortega-and-Gasset H. the Aesthetics. Philosophy of culture. M.: Art, 1991. P. 220.
[15] Kandinsky V. Selected works on the theory of art. Thom. 1. M.: Gilea, 2001.
[16] Eisenstein S. Selected works. At 6 Vol. Thom. 2. M.: Art, 1964. P. 128.
[17] Eisenstein S. Memoirs. Thom. 2. M.: Work; Museum of cinema, 1997. P. 303.
[18] In Prokofiev. Art criticism, history of art, theory of the General artistic process: their specificity and problems of interaction within the limits of art // Soviet art history. Issue 2. M.: Soviet artist, 1978.
[19] Khrenov N. Art history as a history of culture / / Culture and art. 2011.  No. 1. P. 92.
[20] Grabar I. Letters. 1891-1917. M.: Science, 1974. P. 195.
[21] Ibid. P. 192.
[22] Berdyaev N. Philosophy of freedom. The meaning of creativity. M.: Izd. "The truth", 1989. P. 523.
[23] Eisenstein S. Method. Thom. 1. P. 47.
[24] Fuck N. Utopian complex of Russian art of the first half of the twentieth century: from the avant-garde to the Byzantine tradition / / upper Volga philological Bulletin. 2015.  No. 1. P. 171.
[25] P. Eisenstein's Decree. OP. P. 77.
[26] Popper K. open society and its enemies. Vol. 1. The Spell Of Plato. M.: Phoenix, 1992. P. 208.
[27] Ibid. P. 209.
[28] Hanzen-Leve O. Decree. op. P. 111.
[29] F. Stepun the Mystical world-view. Five images of Russian symbolism. SPb.: Ed. "Vladimir Dal", 2012.
[30] Eisenstein S. Method. Vol. 2. P. 61.
[31] Vasari D. Biographies of the most famous painters, sculptors and architects. Vol. 1. M.: Art, 1956. P. 154.
[32] Makovsky S. On the Parnassus of the Silver age. M.: Twenty-first century-Harmony, 2000. P. 483.
[33] In Kandinsky. Decree. op. Vol. 2. P. 25.
[34] In Turchyn. Century XIX century XX-th // Twentieth century and the ways of European culture. M: GII, 2000. P. 35.
[35] Eisenstein S. Method. Vol. 1. P. 112.
[36] Kandinsky V. Decree. op. Vol.1. P.105.
[37] Kandinsky V. Decree. op. Vol. 1. P. 106.
[38] Mandelstam O. Word and culture. M.: Soviet pisatel’, 1987. P. 42.
[39] Kandinsky V. Decree. op. 2. P. 246.
[40] Kandinsky V. Decree. op. Vol. 1. P. 292.
[41] Kandinsky V. Decree. op. Vol. 1. P. 320.
[42] Voloshin M. Archaism in Russian painting (Roerich, Bogaevsky and Bakst) // Apollo. 1909.  No. 1. P. 50.
[43] Schmidt I. The main problems of theory and history. L.: Academia, 1925.
[44] Kandinsky V. Decree. op. Vol. 1. P. 239.
[45] Kandinsky V. Decree. op. Vol. 2. P. 51.
[46] Kandinsky V. Decree. op. Vol. 2. P. 54.
[47] Kandinsky V. Decree. op. Vol. 2. P. 267.
[48] Kandinsky V. Decree. op. Vol. 2. P. 262.
[49] Hanzen-Leve O. Decree. op. P. 184.
[50] Eisenstein S. Method. Vol. 1. P. 436.
[51] Ibid.
[52] Ibid. Vol. 2. P. 327.
[53] Kandinsky V. Decree. op. Vol. 2. P. 71.
[54] Decree P. Decree. op. Vol. 1. P. 46.

 

 

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